Category Archives: Preachy

Hollywood (2020)

From Netflix:

While waiting for his big break, aspiring movie star Jack Castello accepts a job at a local service station that pumps more than just gas.

From Netflix you can stream the 7 episodes of this soap opera. Each episode runs between 45 and 58 minutes.

Maudlin. Salacious. Corny. Subtle as a brick. Clichéd. Barely acceptable trash. Maudlin. Raunchy. Preachy. Woke. Terrible acting. Production errors.  And the list could go on.

My college freshman rhetoric teacher suggested that in order to better appreciate good examples of a given art discipline such as literature, music, and film, it helps to experience the bad examples. Well, with this film we now have a golden opportunity to experience one of the lesser achievements of the movie industry.

“Golden Tip Gasoline” is a gas pumping station that doubles as a gas pimping station for the young male gas attendants who will “fill your tank” if the customer uses the code word “dreamland”, no matter if that customer is male or female.   Not only all these attendants but also their boss and some customers have Hollywood aspirations. One way for such a gas pumper to get his start is to service those customers who are part of the Hollywood management nobility. Instead of casting couches it seems there were casting nozzles.

Rather than merely prurient attractions, this story offers a noble sub-theme: No longer would the film industry suppress black,  gay, and women actors.

Indeed from the goings-on we might suspect that half of Hollywood consisted of closeted gays .  As an example: One client, say Jake, is so stupid that when he drives up to engage Archie Coleman he can’t remember the word “Dreamland”. But they hook up and eventually fall in love.  Jake is told he cannot act. Nonetheless he forges ahead.  Because he could not remember two lines, his first screen text required 67 takes. Because Jake is as handsome as he is stupid, some producer accepts him but says “Jake” is not an acceptable screen name and must be changed to ROCK HUDSON (get it?). His boyfriend Archie is a black man (horrors!) who wants to become a screen writer. Camille Washington is a black woman (even worse!) who wants to have some screen role other than playing a maid (uppity!). And so it goes on and on for 7 episodes.

Is this a satire? Have I missed something here?

If you can last till episode 7, which is aptly named “A Hollywood Ending”,  you will be rewarded with a happy, sappy ending. Amen!

But just remember I LOVE TRASH!

Network (1976)

From NetFlix:

When a network news anchor loses his mind on the air, his outrageous rants reach viewers at home, boost the ratings and intrigue a pair of cutthroat network executives in this Oscar-winning masterpiece that predicted today’s rash of trash television.

Thanks to a fellow movie fan after reading my review for “Nightcrawler” who suggested that I should have seen “Network” first. Indeed, to borrow from my neighbor again, the depiction of the pandering sensationalist behavior in “Network” was a precursor to today’s trash TV (reality TV anyone?).

In at least one respect, the film feels dated: the speech delivery is loud, almost shouting oratory. It could take awhile to get used to this unrelenting patter. If you think Peter Finch (as Howard Beale) shouts a lot, just wait for the reprimand speech delivered to Howard Beale by Ned Beatty (as Arthur Jensen) whose message is “Money Is Everything”. Another way to put this is to say that the film is preachy.

Another impression for me was that “Network” was a bit like “Mad Men” meets “Nightcrawler”. Much like “Mad Men” we witness the merciless win and lose of jobs, positions, and sanity.

Whether Faye Dunaway (as Diana Christensen) is capable of love comes in question when the aging William Holden (as Max Schumacher) leaves his wife for Diana. In one clever scene she and Max make love while during the entire love-making session she jabbers on non-stop about network business.

In some sense the film is scary, possibly because it holds too much truth. But from a historical perspective, I am very glad I saw this 40 year old film which in many aspects has not aged at all.